Conceptual utility, or, the parodic/serious self-referentialexamination of the concept of utility and the utility of concept,inclusively ambiguates the delimiting of the white cube environment,dissolving the boundary parameters defining exclusive spheresdemarcated as The Theoretical and The Functional—therebymulti-defining Art as a utilitarian pursuit, Architecture and Designas conceptual disciplines. Within this model, Design provokesconceptual examination of the environment or objects so designed,while simultaneously conferring a pure somatospiritual transcendentalexperience, via viscerally detected synaesthetically semiologicalsystems. Design functions pragmatically as a conceptual utility, andas such, while slipping from edifice into artifice and subterfuge,retains its status qua Design, achieving a successful and beneficialsyncretism.

"Fuller being is closer union"; the ideal may be illustratedsymbolically via vesical parameters defining plenary synthesis. Inorder to orchestrate a somatopsychic response, interactive audiovisualstimuli systems integrate with the complexities of architectonicspatial systems, compelling the viewer/inhabitant to choreograph theirown trajectories into the void through the mechanics of ambiguouslysuggestive free play: from the physical, through the psychophysical,to the metaphysical. Concentric holistic design organizedomni-vectorially towards an inevitable locus confers the viscerallyexperienced saturated sensory absence necessary for a non-dualized,fractally cosmospheric void projection. The work then absolves theinterior/exterior subject/object dualism, thereby equalizing thehierarchy of vertical/horizontal perspective systems, de-lateralizingvantage relationships into omni-point perspective. Through strongformal "suggestion", all [spatial, visual, audial, temporal, psychic,spiritual] tangential vectors converge at this omni-point, where thenucleus of myriad systems concentricity epiphanically overwhelms theviewpoint inhabitant into full realization of formal teleology:however, the inhabitant's sensory systems concurrently receive afull-spectrum saturation burst of No Data, bestowing a non-referentialachronological metaphysical float.

::GREY AREA::

System Mapping, to expose the superimposed macrocosmic revelatory patterns

1 comment:

Imagine, within the all embracing OmniPositional graydient context called the Holosphere, there are ALOT of different vectors of Becoming, each one of which has myriad attributes. These attributes are not entirely given, nor are they entirely constructs, more accuratley they co-emerge from the Witness's perspective-relationship to the vector-holon as it is energetically self-expressing. From an assumed perspective, One/I may observe and experience my relationship with the vector-holon, and the vector-holon itself, and mySelf, and on and on.... This would all be pretty simply and fun if it were not for the fact that there is this phenomenon called "We", which provides the framework for meaning, and also real validity challenges to the meaning, of singular subjective "I" experience within the Holosphere. e.g. "When I assume that perspective in relation to that vector-holon, do I observe the same attributes as you??" Biases, false interpretations and fallacies are weeded out by this simple, invaluable process. But since the vector-holon is not 100% given-real-ontolically discrete from the perspective of the Witness, and since there are ALOT of potential perspectives which can be assumed, it very very very quickly, becomes very very important to develop a form of language which can acknowledge the perspective which is being taken by the Witness in relation to the vector-holon so that meaning can begin to have meaning. We must be able to acknowledge each other's perspective within the Holosphere. (This is where I think the Holon worldview becomes useful, because there is a common foundation which gives support to the emergant perspective-sphere. without this reference system, discourse becomes the pathological graydient, an endless fluxing post-modern babblescape.) To me this brings up one of the important "hyper-syntaxtical?" functions which the hologlyph must perform in order to be usefull as a transverbal language object. a Hologlyph must be a signifier which auto-disclose the perspective from which it's referent was perceived/experienced. This may be a color or tonal or olfactory attribute to the hologlyph?

Long live the Eros of Evolove's becoming within the Holosphere Graydient! All ways are the way.